By Osa Mbonu-Amadi, Arts Editor  

On October 1, 2023, artist, Anthony Azekwoh’s art of courage started highlighting quite a number of challenges in Nigeria’s nationhood. Among other issues, the artist revisited one of the most controversial crises in Nigeria’s recent history.

Azekwoh’s thoughts on the country’s 63rd anniversary opened as his solo art exhibition titled There Is A Country at Yenwa Gallery, Muri-Okunola Street, Victoria Island, which has its theme linked to October 20, 2020, a significant period in Nigeria’s history. While some of the paintings continued the narrative of Nigeria’s nationhood from where the controversial Lekki shooting of #Endsars protest left, other pieces on display highlighted the country’s civil war era, security and safety of ordinary Nigerians, social imbalance, and injustice among other issues.

The focus of the ongoing exhibition was made clear from the statement by Yenwa Gallery. The gallery disclosed that the show is the artist’s “first gallery solo exhibition”. Being presented in two-volume, “There Is A Country”, according to Yenwa, explores the intricate fabric of contemporary Nigeria. The volume one opened on October 2, 2023 with digital paintings on canvas, commencing the narrative from the controversial October 20, 2020. “This date holds particular significance, marking the Lekki Tollgate Shooting, a watershed moment for both the artist and the country,” the gallery stated.

Curator of “There Is A Country” and founder of Yenwa Gallery, Ugonna Ibe assured that the exhibition will have a digital version run simultaneously, providing digital assets to be collected, “marking a first for this sort of collaboration in the Lagos art scene.”

The gallery described the exhibition as an evolution of Chinua Achebe’s “There Was A Country”, and serves as an artistic proclamation, grappling with the new realities and unyielding hope of a young generation of Nigerians.

Ibe, whose career started as an independent curator also stated: “The exhibition delves into the profound societal shifts catalyzed by moments of collective trauma and the emergence of inspiring figures like Peter Obi. It’s not just about the Nigeria that is, but the Nigeria that should be. Volume two concludes the narrative as a sculpture show, further enriching the exploration of Nigeria’s complexities.”

Azekwoh’s works displayed a mixed bag of critical expressions and patriotic views of the Nigerian situations as the artist highlighted some crucial pasts such as the Nigerian civil war and some current crisis. Such narratives, for examples, were seen in paintings titled “Soldier”, representing military that required better funding, and green-white-green flag stained with red, among other pieces that touched worrisome aspects in Nigeria’s nationhood.

For the “Soldier” piece, the artist argued that an army on the battle front is the same all over the world, fighting to keep their oath of allegiance to country. One of the works on display, which truly represented the Nigerian spirit titled “…And Proud”, depicts a lady showing her strength painted against green-white-green stripes.

Azekwoh further captured his thoughts on the painting in powerful texts: “I’ve met Nigerians from all over the world that are of every sexuality. I didn’t grow up in an over-religious home. My mother is an avid Catholic, while my father wasn’t too active in the church while I growing up. And so, I got the best of two perspectives in a way, both good.”

Among the works for the digital version include “Tinúkẹ́́” (Jingxin, black marble, 16” x 25” x 25” dated 2022); “Kèhinde” (digital, 2023), and “Animal Talk” (2022).

For “Animal Talk”, which was on display during the opening, Azekwoh explained how the work draws inspiration from Fela Kuti’s “Beasts of No Nation” and Orwell’s “Animal Farm”. The artist depicted a tongue-in-cheek motif to present an allegorical cross section of various facets of the Nigerian lived experience. He argued that nation building is the responsibility of all citizens, “though a lot of blame rightly goes to politicians and leaders for the state of the country’s governance. “Animal Talk” expands this accountability to a myriad of members of the Nigerian public.”

Anthony Azekwoh (b. 2000), as an artist and author works on African folklore and mythology themes and figures to tell stories of his country, transformation, and change. Anthony is familiar with change, teaching himself how to draw as a child after solely being a writer, dropping out of school to pursue his career and working between digital and traditional – painting and

sculpting. Change has been a common theme in his work that he has explored with diverse subjects and mediums.

Anthony’s work explores fantastical realms, and drawing from a childhood immersed in folklore he has continued the long- enshrined tradition of African storytelling through his work across a variety of mediums. His works in writing and painting alike aim to condense shared facets of the African experience into his work in a way that can connect people the world over and tell stories that he believes have been largely excluded from the global conversation.

Azekwoh’s work replicates traditional techniques through digital mediums, and blurs the boundary between both by producing physical, corporeal manifestations of his work.

Technology is an instrumental part of his practice as he believes it has been a catalyst for Africans especially to find their creative voices and pursue careers in the arts that can be looked upon with stigma.